Open for submissions!
The Sarah Lawrence College International Audio Fiction Awards is now accepting submissions! Winners will receive cash prizes and be celebrated at an award ceremony on March 28, 2017 at WNYC's Greene Space. The inestimable Jeffrey Cranor and Joseph Fink of Welcome to Night Vale will be the Master of Ceremonies and entertainment for the evening.
To be eligible
- Entries must have been produced between February 2015 and February 2017.
- Entries must be between 3 minutes and 120 minutes in length.
- Each entry will be judged individually.
- Serialized works are allowed to enter, but the entry for each series can be no more than 120 minutes. (We can't have our judges listening to 10 hours from the same show. We're a small group. Sorry!) Those choosing to enter series can use that time however they want. You can upload an episode that you believe is representative of the series, provide excerpts from multiple episodes, etc. The entry can not be more than 120 minutes. Each entry will be judged individually.
- Entries of all languages are admissible. However, if your works are not in English, you must provide a transcript in English.
- We cannot offer individual critiques of declined audio or reasons for declining audio from the nominations.
- All works must be fiction–no documentaries will be accepted. (However, mockumentaries will be happily accepted.)
- What do we mean by “audio fiction?” Check out our FAQ page or email us at email@example.com.
- You may submit as many entries as you like.
- Each entry should consist of one audio file. (MP3)
- Entries are only accepted through Submittable. There you will find clear instructions for uploading your story. If you need help or have any questions, please email us: firstname.lastname@example.org
All entries must include
- Brief producer bio (80 words max)
- One audio file per entry
- Synopsis of your entry
- Entry fee
- If submission is not in English, you must provide an English transcript.
Fees and deadlines
- Free for student entries.
- $20 for entries uploaded between Thursday, December 1, 2016 and Tuesday, December 27, 2016.
- $35 for all entries uploaded between Wednesday, December 28, 2016 through Friday, January 27, 2017 at 5 p.m. EST
- Entries uploaded after Friday, January 27, 2017 by 5 p.m. EST will not be judged.
- All entries may be considered for the The Sarahs’ Serendipity podcast and PRX’s Remix.
Currently enrolled students do not have to pay an entry fee. Use this link if you are a student and do not want to pay an entry fee.
- Payment is to be made online through Submittable. If you have any issues or problems, please email email@example.com.
Serendipity Ep 17:
In this episode of Serendipity, we play 5 of the 10 finalists for our 2016 Very, Very, Short, Short Stories Contest. Featuring: "Bitterly Cold" by David Garland, "The Staging Area" by Jason Gots, "Noir" by Pa Ying Vang, "#blessed" by Jackie Heltz, and "Blinking" by La Cosa Preziosa. Read More
It is an exciting time for audio. The tumultuous growth of podcasting and the concomitant development of digital channels, multiple platforms, and user-driven content has not only expanded and re-energized the form, but forced public radio to loosen its stays and let down its hair.Where once we might have talked of “the system” or “the industry,” we can now confidently say we are part of “a culture.” But—we are missing two important components of a vital culture: a critical language, and with it, a critical practice. The language should be expressly designed to describe our forms, tropes, and themes, but with reference to the larger culture and world of ideas. And the practice should be constant, robust, and open, with critical tools wielded to help us better understand our work, and ourselves, and to help our public to better understand us as artists. Read More
James Urbaniak is the kind of podcaster that other producers love to hate. His show, Getting On with James Urbaniak, consists of nothing but a single voice reading a fictional soliloquy, often written by someone else. There is almost no elaborate soundscaping, no intricate plot development, little evidence of endless editing sessions to get the thing just right. Getting On sounds like Urbaniak cruised into the studio, an iced latte in hand, and finished recording before his drink grew tepid. None of this would be infuriating if the podcast in question wasn’t so good. Read More